Based on a novel by Joy Packer, Nor the Moon by Night is an odd witchdoctor's
brew of pulp drama, breakneck plotting and sensational photography. Initially
serialised in a woman's magazine with a weekly circulation over three million,
the story was easily optioned for production. It has a ludicrous plot with few
artistic pretensions, but satisfied Rank's appetite for its cycle of 'outpost of
empire' adventures - popular enterprises during a period when British emigration
to Africa was a growing trend.

Actually shot in South Africa, the film preceded the country's withdrawal from the Commonwealth in 1961. The barely noticeable
political element in the sub-plot offers a glimpse into the British view of the
former Empire. The Africa in the film is still tamed, organised and influenced
by responsible settlers, but is vulnerable to abuse by those with less
honourable intentions - represented here by Anton Boryslawski, notably not
British - who exploits African folklore for personal profit.

However, social commentary in the film is kept to a minimum. What
Nor the Moon By Night chiefly offers is a tourist's eye view of the exotic -
hence the squeezing of bush fire and attacks from elephants, snakes, lions,
crocodiles and even porcupines into the 90-minute running time - an approach
which director Ken Annakin had successfully employed on The Planter's Wife
(1952). Although Annakin dismissed these sensationalist travelogues - insisting
that such films were only made because the crew wanted to go to interesting
places - he brings to the film a sensibility from his documentary past which
gives it a visual beauty that exceeds its often laughable content. Beneath the
plot twists lies an attention to detail that captures the danger of the animals,
the drama of the landscape and the character of the people who live there.

In fact, the on-screen action was eclipsed by events behind the camera.
Belinda Lee tried to commit suicide, Patrick McGoohan was concussed after
crashing his car, and the production was constantly disrupted by the crew - on
one day only Annakin and a snake were available for work. The biggest obstacle
came from the electricians who supposedly ran the shoot, sabotaging the director
of photography's rushes with incorrect light filters and forcing him to be
replaced. Despite such troubles, the film made money at home, and even returned
a significant profit when it was released in America as Elephant
Gun.